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Three Dear Friends 



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Three Dear Friends 



A Feminine Episode in One Act 



By 
KATHARINE METCALF ROOF 



Originally produced at B. F. KeiiK s Bijou Theatre, Boston, 
under the management of Josephine Clement 



BOSTON 

WALTER H. BAKER & CO. 
1914 



Three Dear Friends 



CHARACTERS 



(^1 originally produced at B. F. Keith' s Bijou Theatre, Boston, 
September 2g, igij. ) 

Mildred ..... Marjorie Fairbanks. 

Peggy ...... Betty Bamicoat. 

Eva ....... Gertrude Breen. 

Mildred's Maid Agnes Cave. 



NOTE 

This play may be performed by amateurs free of royalty and with- 
out express permission. The professional stage-rights are, however, 
strictly reserved, and performance by professional actors, given in ad- 
vertised places of amusement and for profit, is forbidden. Persons 
who may wish to produce this play publicly and professionally should 
apply to Katharine Metcalf Roof, The Holley, 36 Washington 
Square, New York. 




Copyright, 1914, by Katharine Metcalf Roof 

All rights reserved 

TMP96-006718 
©OLD .'36103 

FEB 21 1914 



Three Dear Friends 



SCENE. — A corner of the drawing-room in Mildred's house. 
Jt is about quarter before four and is MiL.'s day at home. 
Mil. is inspecting the tea table. She addresses the Maid 
who stands awaiting instructions. 

Mil. I think everything is here. Be sure the water is boil- 
ing. I'll ring when I want it. {Listens.) There is some one 
now. 

(Peggy comes exuberantly through the open door. She is a 
pretty girl dressed in the extreme of fashion, rather rest- 
less and over-animated and extremely well pleased with 
herself. ) 

Peg. My dear ! (She embraces Mil. effusively.) 
Mil. (Jo Maid). Bring the hot water now. 

(Maid goes out with silver kettle.) 

Peg. I came early so I would be sure to find you alone. I 
hope nobody will come. 

Mil. You have something to tell me ? 

Peg. Rather ! 

Mil. Another man ? 

Peg. How did you guess ? It is so satisfactory to tell you 
things, Milly. You always understand. 

Mil. I've just had a telephone from Eva. She has some- 
thing to tell me, too. 

Peg. Is she coming this afternoon ? (Mil. nods.) How 
tiresome of her ! How can you stand that dismal limp crea- 
ture, Milly? 

Mil. {laughing). Poor Eva ! I thought you used to be 
such friends ? 

Peg. I got tired of hearing her talk about herself all the 
time. Then she is always butting into my conversations with 

3 



4 THREE DEAR FRIENDS 

Arthur. If you could see how bored he looks ! I suppose one 
oughtn't to blame her. The poor little thing is simply dotty 
about him. 

Mil. Arthur ? 

Peg. Arthur Chisholm. That's what I came to talk about. 

Maid enters with the silver kettle which she sets in place 
over the alcohol lamp. 

Maid. Anything else, miss ? 

Mil. Nothing, thank you. [^Exit Maid. 

Peg. The situation is really getting serious 

Mil. You are speaking of Arthur — Chisholm? 

Peg. {twddifig). Yes. Milly ! what did he say when you 
asked him what he thought about me? {As Mil. does not 
answer at once.) You did ask him, didn't you? You prom- 
ised you would. 

Mil. Yes, I — spoke of you. 

Peg. {jumping excitedly in her chair). Milly / What did 
he say ? 

Mil. He said you were very vivacious. 

Peg. Vivacious ! That means that one is attractive and er 
— a — clever, I suppose. I don't know that 1 care about hav- 
ing men think I am clever. 

Mil. He spoke of how pretty you are. But you are used 
to having men say that. 

Peg. I see. He didn't take you into confidence. So /am 
going to because my conscience is really beginning to trouble 
me. Dicky Warner says 1 am perfectly unfeeling and heart- 
less. I am afraid I have been rather, but I've made up my 
mind not to trifle with Arthur Chisholm's affections. There is 
something so sort of deep and serious about him. It makes 
you feel as if he wouldn't get over a thing easily. Of course I 
don't believe in broken hearts and lifelong loves and that sort 
of thing but when a man looks at you with that look in his 
eyes 

{Pauses dreamily helping herself to salted almonds.) 

Mil. {busy with the alcohol lamp). Some particular kind of 
look? 

Peg. Yes, a sort of deep wistful adoring look. And when 
he said to me 

Mil. {a little hastily). Are you sure you want to tell me 
what he says to you 



THREE DEAR FRIENDS 5 

Peg. (^staring). Why not ? Don't I tell you everything ? 

Mil. {with whimsical humor). A great deal ! But per- 
haps 

Peg. When he said to me with that deep look — " Did 
you really remember my chance words about the apple blos- 
soms, Miss Peggy? But how delightful of you!" it meant 
more than if another man had said 

Mil. Apple blossoms ? You — sent him some flowers ? 

Peg. {pouting). I sent him some apple blossoms, if you call 
that sending flowers. Of course one doesn't send a man violets. 
They came from the country. At least the florist said they did. 
Besides he is a writer. 

Mil. On economics. 

Peg. Well, whatever it is. I suppose all writers have 
temperament, favorite flowers and all that sort of thing. And 
he sent me the most wonderful note. I believe I have it in my 
bag. {Rummages in her bag.) Here it is. 

{Takes note out of her bag.') 

Mil. Won't you have some tea ? It's just right now. 

Peg. {handing her the note with a giggle). Read it. 

Mil. When I've poured your tea. 

Peg. I'll read it to you. It isn't just what he says. A man 
who didn't mean anything would say a lot more. But from one 
of his reserved nature 

Mil. {handing her a cup). Here is your tea. 

Peg. {taking it, setting it down and reading). " I am over- 
whelmed by your kindness. You hare brought the Spring into 

my dingy room " / have " brought the Spring." You 

see. {Giggles.) He puts it so that it sort of suggests that / 
am the Spring. Then he signs it, " Faithfully yours." Oh, 
of course I know that is just a form with some people. But I 
think he is the kind of man who couldn't write it unless he 

meant some sort of chivalrous fealty You understand. 

No, I don't suppose you do exactly, you are such a quiet little 
mouse, and you never see much of men. I don't mean that 
they don't like you, of course. They always say nice things 
about you — quiet, respectful sort of things. But you never say 
much about them. Then although he has never actually used 
the word love there is something in the way he says, "My dear 
child," that makes you feel 

Mil. {interrupting). I thought you just told me that you 
were absolutely unfeeling about men ? 



6 THREE DEAR FRIENDS 

Peg. I am. That is, I always have been. {Helps herself 
to chocolates.') But there is something about Arthur Chisholm 
that makes me feel as if I could keep on caring about him. 

Mil. (Jiastily). You wouldn't, I am sure you wouldn't. 

Peg. {taking another chocolate creani). I would, Milly, I 
am sure I would ! Course he hasn't actually proposed yet be- 
cause when I see that look coming into his eyes — I have 
learned to know what that look in a man's face means — I 
simply change the subject. I am really sort of afraid to lead 
him on. Why, if I refused him he might do something 
desperate — commit suicide or go to Patagonia or something like 
that. I once knew a man who was crossed in love who went to 
New Guinea or some such place. 

Mil. Chili, perhaps. 

Peg. Then sometimes when I am talking he jumps up sud- 
denly and leaves me as if he couldn't trust himself with me a 
moment longer. Perhaps I ought not to encourage him. 
{Keeps on absently eating things from the table.') What do 
you think ? 

Mil. That is rather a difficult question for any one else to 
answer, Peggy, especially for me because 

Peg. (ifitermpting). I know, you have had so little experi- 
ence with men. But still you know »/<? pretty well. Dear me! 
There is that stupid Eva coming up the steps. Now our talk is 
all spoiled. 

Mil. Don't go. / have something to tell you both 

Peg. {rising and interrupting her). Thanks, dear, but I 
simply can't stand Eva. I'll come back another time. You 

haven't really given me any advice yet (Maid opens the 

door ushering in Eva, a very thin, solem?t looking girl with 
large eyes. She is dressed in black and wears a single long- 
stemmed red rose. She greets Mil. and turns to Peg, Peg., 
effusively.) Eva ! How tiresome of you to come just as I have 
to go. 

Eva {unsmilingly). So you were an even earlier bird. 

Peg. Yes, but I am not taking away the dear little worm. 

Mil. {with a smile). Suppose just once the dear little worm 
should turn {Both girls stare at her gravely.) 

Eva {solemnly, after a mofnent). Oh, it is a joke. 

Peg. {gaily). 1 knew / had never done anything to make 
Milly turn against me. 

Eva {seating herself as Peg. takes leave). I certainly 
haven't. Mildred is my best friend. 



THREE DEAR FRIENDS 7 

Mil. What would be your definition of a best friend ? Can 
I give you some tea ? 

Eva. Thanks, dear. Oh, why, one's best friend is some 
one who is sympathetic and takes a real heart interest in your 
affairs. Now, Peggy wouldn't care if her best friend broke her 
neck, so long as there was a man left in the world for her to 
ogle. 

Mil. {light ly). One would think that you were a despiser 
of men to hear you talk, Eva. Is it one lump or two ? 

Eva. Three. Oh, no, I don't despise men. But I am not 
crazy about the whole sex like Peggy. Neither am I indif- 
ferent like you, Mildred. I don't believe you would care if 
you never saw one again. 

Mil, Oh, I am not quite so self-sufficient as that. I make 
one or two exceptions 

Eva {not listening). In fact I came here to talk to you 
about a man who has gradually come to be a factor in my life. 

Mil. Another factor ? Do I know him ? 

Eva. Yes, you know him slightly. It is the one that I call 
the Imprisoned Soul. Sometimes I have referred to him as the 
Dreamer. 

Mil. a sort of masculine sleeping beauty ? 

Eva {her eyes fixed as if on some vision). Yes, his soul is 
asleep. 

Mil. How did you discover that psychologic peculiarity ? 

Eva {petulantly). You are so literal, Mildred. I mean 
you can see that he has a deep, intense nature, but that he is 
not yet emotionally awake. You feel that no woman has yet 
plumbed his depths, that he has not loved. 

Mil. Is he very young ? 

Eva. Why, no, not especially. What has that got to do 
with it ? And he is the kind of man that when love comes to 
him it will be for always. 

Mil. And he is in love with you ? 

Eva. I believe he is, although I am not sure that he himself 
is aware of it. 

Mil. How has he shown it ? 

Eva {in a low voice). In his silences. 

Mil. Oh ! 

Eva. Silence can say so much. 

Mil. And the interesting thing is, one is never entirely sure 
just what it says. 

Eva. Eh ? Oh, yes, I dare say it would seem so to matter- 



8 THREE DEAR FRIENDS 

of- fact natures like yours. {Takes another lump of sugar.') 
But to one who has intuition — silence can say the things that 
are too deep for words. 

Mil. Let me fill your cup. And he has made you feel 
some pleasant mutual understanding in these eloquent silences 
of his ? 

Eva {forgeitifig her tea). Oh, he has said things, too — 
wonderful things ! He has told me that I have a beautiful 
soul, that I am not like other women. 

Mil. That is unusual. It is more often women who talk 
about souls, don't you think? 

Eva {annoyed). Well, I don't know that he actually used 
the word soul. But that was what he implied. You know I 
sent him some of my verses. One was inspired by him, but, 
of course, I didn't tell him that. It was called " Thine Eyes." 
It seemed perfectly natural to show them to him, he being a 
literary man. 

Mil. He is a poet ? 

EvA. No, but he is a wonderful judge of poetry. He said 
my verses were unlike any he had ever read, especially the 
metre. He said it was unique. And I think Arthur Chisholm 
is a perfectly frank man 

Mil. {with a slight gasp). Arthur Chisholm ! 

Eva. Yes, I told you you knew him. You seem surprised. 
But of course you would never understand a reserved man like 
Arthur, you are too quiet yourself. 

Mil. Peggy was speaking about him, too. 

Eva. Peggy ! I suppose she was. My dear, that girl is 
simply crazy about him. The way she runs after him is per- 
fectly scandalous. It isn't as if he gave her the least excuse. 
Of course he is a fascinating man, but if one has any self- 
respect one doesn't chase after men who are utterly indifferent 
to one. Mildred, don't you think he has had some great 
tragedy in his life? 

Mil. I can't say that it ever occurred to me. 

Eva. I suppose not, you are so matter of fact. Yet it 
seems to me that any one looking at that sombre brow of his, 
that bitter-sweet smile, could see that he is a man with a past ! 

Mil. Dear me, I hope not ! 

Eva {solemnly). I am sure of it ! 

Mil. He is tremendously busy, you know, and very prac- 
tical. 

Eva {with a little scream). Practical ! That shows how 



THREE DEAR FRIENDS 9 

little you know him. Really, your observation is very super- 
ficial, if you will excuse my saying so. I know that he has a 
dead heart or a buried love or something of that sort. 

Mil. I thought you suggested a moment ago that his soul 
was asleep. 

Eva. Oh, well — it's one or the other. There is something 
romantic about him. He is always getting sunk in thought ; 
have you noticed that ? I used to wonder about him. He will 
sit staring in front of him and not seem to hear a word one 
says. One day I sat next to him at a musicale. Every one 
else was talking but he never said a single word. He just sat 
there lost in thought right through the whole song. I said to 
him, "A penny for your thoughts" — and he looked up at me 
like one roused from a trance and didn't answer. I said, "I 
believe they were about a woman." Then he said (assuming 
a melodramatic tone), "You are right; they were about a 
woman ! " 

Mil. It doesn't sound like him 

Eva {hastily'). No, I dare say not — as ^^« know him. But 
do you know — there was something about the way he said that 
(staring in front of her), that for the first time made me feel 
that / was the woman ! 

Mil. You haven't had one of these little cakes. 

{Passes the dish.) 

Eva {absently helping herself). Thanks, dear. Then I 
noticed how he seemed to seek my society. He has never 
asked if he could call. I think he is shy about that, but at 
receptions in the thickest crowds he always manages to find 
me. In fact he said one time, " There is something so restful 
about you. Miss Eva. You don't talk a man to death the way 
some girls do." And I said to him as I just said to you, "I 
think silence says things that words cannot express." 

Mil. {busy with the teakettle). What did he say to that ? 

Eva. Why, not much. That was the interesting thing. 
He seemed agitated. He just sort of stammered, "Ah, yes, 
quite so — I see you understand." And soon afterward he left. 
Now don't you think when a man is like that — first seeking you 
out, and calling you restful, then abrupt and agitated, that it 
seems — significant ? 

Mil. {in a tone noticeable for absence of emphasis or feeling 
of any kind). Mr. Chisholm is coming in this afternoon. 



10 THREE DEAR FRIENDS 

Eva {^excitedly). Really! I didn't know you knew him 
well enough for that 

Mil. It is my "day." 

Eva {fluttered). I'll stay till he comes. I wish I hadn't 
promised to go to the tailor's with Bessie. Oh, Milly ! ( Coax- 
ingly.) Can't you ask us here together some time and leave 
us alone a little while ? I never see him alone. 

( The sound of voices in the hail. Mil. rises, looking toward 
the door.) 

Mil. Some one is coming 

Enter Peg. , /// a flutter of excitement. 

Peg. Oh, Milly, I am all out of breath. I had gone ten 
blocks before I found I'd lost it, then it occurred to me that I 
had left it here 

Mil. You left something ? 

Peg. {excitedly). My bag — with the letter (Recalls 

Eva.) There was an important letter in it. 

Eva {coldly). Why didn't you telephone? 

Peg. (haughtily). I wanted my bag. Sorry if I interrupted 
you. 

Eva (staring out of the window). I believe that's Arthur 
Chisholm now ! 

Peg. (shrieking). Arthur Chisholm ! I just saw him turn 
in at the florist on the corner. 

Mil. Girls, I have something to tell you. I would have 
told you before only I couldn't seem to find the right mo- 
ment 

Eva. About Arthur Chisholm ? 

Mil. Yes, about Arthur Chisholm — and me. 

Both Girls. You ! 

(A pause, in which they stare at Mil.) 

Mil. (at last, in a quiet voice). Mr. Chisholm and I are 
engaged. 

Both Giuls (shrieking in chorus). Engaged ! 

Mil. I meant to tell you before. I ought to have, but I 
couldn't seem to get it in 

(Eva stands stunned, staring ahead of her.') 



THREE DEAR FRIENDS II 

Peg. {gathering up her things to depart, turns to address 

Mil.). Arthur Chisholm engaged Xo you / 

Mil. {ha// laughing'). Wretched taste on his part. 

Eva {finding her voice). That man of genius engaged to 
you / 

Mil. Men of genius always choose inferior wives, you 
know. 

Peg. Excuse me. I don't wish to be de trop. 

{Hurries toward the door.) 
Eva {distractedly). I can't see him here 



Peg. {protectingly to Eva, looking daggers at Mil.). Come 
with me, dear ! 

Maid {at the door announcing). Mr. Chisholm. 

{Both girls rush blindly toward the door as the curtain falls.) 



CURTAIN 



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llli:i iJ\..nWLilTlliJ 1 IVEitJkJ seven females. Costumes, mod- 
ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^gt^S^.^^l^e 

females. Costumes, modern; scenery, three interiors. Plays a 
full evening. 

OtirrrT f AVPISIHFR Comedyin Three Acts. Seven males, 
OtY£iEi1 ljiW£iliLf£iIV four females. Scene, a single interior, 
costumes, modern. Plays a full evening. 

THF THTTNnFRRniT Comedy in Four Acts. Ten males, 
iri" inUlil/EilvDVLil nine females. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

/ 
THF TIMF^ Comedy in Four Acts. Six males, seven females. 
iriLt lllTlCiiJ Scene. a single interior; costumes, modern. Plays 
a full evening. • 

THF WFAKTR <1FY Comedyin Three Acts. Eight males, 
1 riEi TT £i/\IV.£<lV DCiA. eight females. Costumes, modern ; 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE ^rn'7ail^^u\llmi?^l: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Wsilttv ^. pafeer & Companj» 

No. 5 Hamilton Place, Boston, Massachusetts 




LIBRARY OF CONGRESS 



016 103 913 5 



A TT AALrlilllU lour males, six females. Scenery, not diffi- 
cult, chififly interiors ; costumes, modern. Plays a full evening. 
Price, 50 Cents. 

THE FRUITS OF ENLIGHTENMENT '^Tj.'.%^^Jri.fZ- 

one males, eleven females. Scenery, c? "^jacteristic interiors ; cos- 
tumes, modern. Plays a full eveni'g. ..lecommended for reading 
clubs. Price, 35 Ceuts. 

BIS EXCELLENCY THE GOVERN(lR^^TiHlHxtr%e^ 

males, three females. Costumes, modern ; scenery, one interior. 
Acting rights reserved. Time, a full evening. Price, 50 Cents. 

MIDFAT HIISRAMl ("omedy in Four Acts. By Oscar "Wilde. 
IVLiAly UUJUill^l/ Nine males, six females. Costumes, mod- 
ern ; scenery, three interiors. Plays a full evening. Acting rights 
reserved. Sold for reading. Price, 50 Cents. 

THE IMPORTANCE OF BEING EARNEST Hit i^° l^^n 

Wilde. Five males, four females. Costumes, modern ; scenes, two 
interiors and an exterior. Plays a full evening. Acting rights re- 
served. Price, 50 Cents. 

LADY WINDERMERE'S FAN '^^'"'i^^.:^!^^^ 

males. Costumes, modern ; scenery, three interiors. Plays a full 
evening. Acting rights reserved. Price, 50 Cents. 

NATHAN HAI F Play '"Four Act. s. By Clyde Fitch. Fifteen 
uAlUAli UnuLi males, four females. Costumes of the eighteenth 
century in America. Scenery, four interior's and two exteriors. Act- 
ing rights reserved. Plays a full evening. Price, 50 Cents. 

THF ATHFR FFIIOW Comedy in Three Acts. ByM. B. Horne. 
lULi UIUL.a IVLiLiVV gix males, four females.' Scenery, two 
interiors ; costumes, modern. Professional stage rights reserved. 
Plays a full evening. Price, 50 Cents. 

THF TVDANKY ftF TFAD'5 Comedy in Four Act?. By C. H. 
lUli IlllAillll Vr lLAn>3 Chambers. Four males, three fe- 
males. Scenery, an interior and an exterior; costumes, modern. 
Acting rights reserved. Plays a full evening. Price, 50 Cents. 

A WOMAN OF NO. IMPORTANCE ^^^J^^^tlTk^l^^, 

seven females. Costumes, modern ; scenery, three interiors and an 
exterior. Plays a full evening. Stage rights reserved. Offered for 
reading only. Price, 50 Cents. 



Sent prepaid on receipt of price by 

5^alter !^» l3after d Company 

No. 5 Hamilton Place, Boston, Massachusetts 

• . ' OARKHILL & CO., PRINTERS, BOSTON. 



